Directed by:
Steven SpielbergCinematography:
Bill ButlerComposer:
John WilliamsCast:
Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton, Carl Gottlieb, Jeffrey Kramer, Susan Backlinie, Jonathan Filley, Ted Grossman (more)VOD (3)
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When an insatiable great white shark terrorizes Amity Island, a police chief, an oceanographer and a grizzled shark hunter seek to destroy the beast. (Netflix)
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Reviews (10)
My friend told me how during the scene where the human head appears, everyone in the cinema jumped so hard that one row completely collapsed (you know, old cinema, joined wooden seats, you don't see something like that in a multiplex), I think that says it all… The model of the shark didn't work as it should, and that's why Spielberg opted for hints in the first half. And he did well, the human imagination is often much more frightening.
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The best Spielberg. When I watch Jaws, I realize how incredibly strong tension can be built in a seemingly unobtrusive way, through the construction of mise-en-scène and the choice of editing techniques, and how the viewer's attention can be guided in such a way that every single scene has the most intense effect. The key is the work with hints and communicating information through simple visual motifs, which manifests itself in the generally diabolical escalation of the terror of the approaching creature and the unrelenting pace of the narrative, particularly in the legendary second shark attack scene, which truly belongs to the hall of fame of the best filmmaking sequences in history. In it, Spielberg, through Sheriff Brody's nervous glances, repeatedly pitches us possible victims of the attack, with the shark's presence confirmed by the sudden disappearance of a dog whose owner calls in vain, and the camera showing us only the frisbee it was supposed to fetch. The already nerve-wracking situation is intensified by the invisible cuts, catalysed by characters crossing in front of the lens, and the tension culminates in a switch to a point-of-view shot of a shark and the famous transfocation raid on Brody, a moment at which I sweat out all the beers from the previous evening every time and my cinephilic self descends into hash ecstasy. And that's somehow how the overall division into two distinct halves works – the first one hints, in the second we see a lot of the shark, and the tension is maintained by alternative directorial techniques (barrels), impeccable dialogue (Quint's narration is directly devoured by the viewer), amazing music, and indescribably effective timing, bordering on sheer shock at times (if the scene described above makes me ecstatic with hash, SPOILER!! Quint's death puts just about every stimulant in the world into me). Perfection, after this you just can't swim peacefully in the sea anymore..... Yeah, and I don't do drugs, it was just symbolism :D
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The hidden evil that lurks beneath the surface, waiting to strike. Its terrifying arrival is signalled by a sharply bevelled dorsal fin and soon several rows of razor-sharp teeth. In Jaws, it is not the shark that is feared directly, but its mere presence. John Williams' score only enhances the film's suspenseful atmosphere. It distantly reminded me of the Alien, where the creature itself is only properly seen in the final part of the film, while creepy hints permeate the rest of the film, teasing the viewer and preparing them for the climax. Jaws is definitely not a bad film, it's probably just me being a bad viewer because I can't say I wasn't bored at times. The working with the shark is a really top-notch display of skilled craftsmanship, and a lot of today's horror films can’t even hold a candle to this cult classic. Somewhat similar to Alien, which I enjoyed more in the end, but I highly recommend watching it because I enjoyed it too, and I am not exactly a fan of shark movies.
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With this film, Spielberg cemented his place in the history of the greatest filmmakers and launched his amazing career! As a reviewer, I’m a bit embarrassed that I only got around to Jaws now, because this film still has a lot to offer today’s audience. The story itself isn’t innovative, the acting is above standard, but Spielberg managed to squeeze the maximum out of this otherwise unremarkable premise. The buildup to each shark attack, the precisely written (and occasionally humorously delivered) dialogue, the excellent camerawork for 1975 (the underwater shots are absolutely top-notch!), and John Williams' unforgettable, ominously unpleasant soundtrack all contribute to making Jaws one of the pinnacle animal survival horrors. When you add the mechanical shark into the mix, you realize its invaluable quality. It’s missing a little something for a perfect score, but I’m still thrilled that this film was made. Fantastic. For me, it’s an 8/10.
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The series of Spielberg's projects, which made the director famous, no longer excites me today, but if I had to name a title that I consider crucial in his early creative period, it would be Jaws. Spielberg showed himself to be a great storyteller here, who masterfully worked with tension and human fear of the unknown. From a basically very simple plot, he made a gripping genre film that could become a textbook for aspiring filmmakers, and a number of scenes still amaze today with the filmmaker's impressive cleverness. I consider the underwater scenes filmed from the shark's perspective or the view of the fisherman on a broken pier particularly well-crafted, as he experiences a transformation from the hunter to the hunted in a split second. Overall impression: 90%.
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